practice is to use@tie{}@code{c} in various octave positions or the
first note of @var{musicexpr}.
-When octaves are specified in absolute mode, by adding@tie{}@code{'}
-and@tie{}@code{,} to pitch names, it is easy to accidentally put a
-pitch in the wrong octave. The relative octave mode reduces
-these errors since most of the time it is not necessary to
-indicate any octaves at all. Furthermore, in absolute mode, a
-single mistake may be difficult to spot; in relative mode, a
-single error puts the rest of the piece off by one octave.
+When octaves are specified in absolute mode it is easy to
+accidentally put a pitch in the wrong octave. Relative octave
+mode reduces these errors since most of the time it is not
+necessary to indicate any octaves at all. Furthermore, in
+absolute mode, a single mistake may be difficult to spot; in
+relative mode, a single error puts the rest of the piece off by
+one octave.
As explained above, the octave of pitches is calculated only with the
note names, regardless of any alterations. Therefore, an F-sharp
@end multitable
@end example
+@c TODO: move most of this junk into glossary
@noindent
Note that in some languages such as Norwegian and Swedish, the usual
spelling for accidentals is a double @q{s} such as in @code{ciss}
@}
@end example
-
The octave of a note following an @code{\octave} check is
determined with respect to the note preceding it, as modified by
the outcome of the octave check. In the next fragment, the first
yields an@tie{}@code{a'}, above middle@tie{}C. In this case, the
check had no influence on the output of the piece.
-The second @code{\octave} check, however, fails: @code{a'}@tie{}is not
+The second @code{\octave} check fails: @code{a'}@tie{}is not
within the range of@tie{}@code{b}. A warning is issued, and the
last note is calculated relative to@tie{}@code{a}, not
to@tie{}@code{a'}, and we get a@tie{}@code{d'}. Without the last
@cindex transposing instruments
-@code{\transpose} may also be used in a different way,
-to input written notes for a transposing instrument.
-The previous examples show how to enter
-pitches in C (or @notation{concert pitch}) and typeset them for a
-transposing instrument, but the opposite is also possible if you
-for example have a set of instrumental parts and want to print a
-conductor's score. For example, when entering music for a B-flat
-trumpet which begins on a notated E (concert D), one would write:
+@code{\transpose} may also be used in a different way, to input
+written notes for a transposing instrument. The previous examples
+show how to enter pitches in C (or @notation{concert pitch}) and
+typeset them for a transposing instrument, but the opposite is
+also possible if you for example have a set of instrumental parts
+and want to print a conductor's score. For example, when entering
+music for a B-flat trumpet which begins on a notated E (concert
+D), one would write:
@example
musicInBflat = @{ e4 @dots{} @}
@seealso
+Notation Reference: @ref{Instrument transpositions}.
+
Snippets: @lsrdir{Pitches}.
Internals Reference: @internalsref{TransposedMusic}.
@cindex transposition, MIDI
@cindex transposition, instrument
-When typesetting scores that involve transposing instruments,
-some parts can be typeset in a different pitch than the @qq{concert pitch}.
+When typesetting scores that involve transposing instruments, some
+parts can be typeset in a different pitch than the
+@notation{concert pitch}.
The key of a @notation{transposing instrument} can be specified.
This applies to many wind instruments, for example, clarinets
(B-flat, A, and E-flat), horn (F) and trumpet (B-flat, C, D, and
E-flat).
-For such instruments, LilyPond will print a correct part, but is not
-aware whether the instrument is playing in concert pitch or not.
-This can lead to problems if you want a MIDI output, or if you quote
-other parts in a transposing staff. In such cases, an explicit transposition
-has to be specified, with the command
+For such instruments, LilyPond will print a correct part, but is
+not aware whether the instrument is playing in concert pitch or
+not. This can lead to problems if you want a MIDI output, or if
+you quote other parts in a transposing staff. In such cases, an
+explicit transposition must be specified:
@example
\transposition @var{pitch}
@noindent
where @var{pitch} specifies the key in which the instrument plays.
-For example, a part for B-flat clarinet would include
+For example, a part for B-flat clarinet would include:
@example
\transposition bes
@seealso
+Music Glossary: @c TODO @rglos{concert pitch}
+
Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
Snippets: @lsrdir{Pitches}.
The accidental style applies to the current @code{Staff} by
default (with the exception of the styles @code{piano} and
-@code{piano-cautionary}, which are explained below).
-Optionally, the function can
-take a second argument which determines in which scope the style
-should be changed. For example, to use the same style in all
-staves of the current @code{StaffGroup}, use
+@code{piano-cautionary}, which are explained below). Optionally,
+the function can take a second argument which determines in which
+scope the style should be changed. For example, to use the same
+style in all staves of the current @code{StaffGroup}, use
@example
#(set-accidental-style 'voice 'StaffGroup)
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